Jerusalem, Israel Museum, Ms. 180/51

Rothschild Miscellany Facsimile Edition

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The Rothschild Miscellany was commissioned by Moses ben Yekuthiel Hakohen in 1479. It was a time when the Jews in Italy came into contact with all sectors of society and many adopted the way of life of the gentile aristocracy. They enjoyed the favourable attitude of some of the great Italian Princes such as the Medici of Florence and the Este of Ferrara.

The prohibition by the Church for Christians to lend money for interest was beneficial to the Jewish community, many of whom prospered. The wealthy Jew became a man of the Renaissance with a taste for letters and art, and pleasure in affluent living. Nonetheless, the Jews never became estranged from their Jewish intellectual and religious heritage. This was a period of unprecedented cultural activity amongst Italian Jewry, producing scholars, artists, poets and physicians. The Rothschild Miscellany, as it is now known, is the most elegantly and lavishly executed Hebrew manuscript of that era. From its inception it was planned as a sumptuous work to encompass, in minute detail, almost every custom of religious and secular Jewish life. The figure drawings and border decorations of the miniatures mirror the rich Italian Renaissance influence and were probably made in a workshop in the Ferrara region. Fanciful landscapes, spatial perspective settings and the precision of human and animal representations echo the style of the best artists who worked for the court of the Este in the third quarter of the fifteenth century. They may have been connected with the workshop of the artists who illuminated the famous Latin Bible of Borso d'Este. The complete history of the Miscellany is somewhat of a mystery. From 1832 to 1855 the manuscript was in the Solomon de Parente collection in Trieste. It was later sold to the Rothschild family in Paris and remained there until it was stolen during the Nazi occupation and reappeared after the war in New York when, in May 1950, the Berlin bookseller Hugo Streisand, offered it for US$5,000 to the Jewish Theological Seminary. Alexander Marx, the Seminary's librarian, recognised it as stolen from the Rothschilds and returned it to them in London. James de Rothschild was persuaded by Mordechai Narkiss, director of the Bezalel Museum in Israel, that a manuscript of such importance was a national treasure and therefore belonged in Israel. In 1957, on hearing of Narkiss' illness, James de Rothschild sent it as a gift to Jerusalem. The Rothschild Miscellany consists of more than 37 religious and secular works. Among the religious books are Psalms, Proverbs and Job and a yearly prayer book including the Passover Haggadah. All have textual illustrations for each festival and prayers for special occasions. The secular books include philosophical, moralistic and scientific treatises. The text throughout the manuscript is accompanied by marginal notes and commentaries of the sages. This large collection of miscellaneous yet connected texts became the framework for an unprecedented programme of illumination. It contains a wealth of material illustrating almost every custom of daily life in a Jewish Renaissance household. Of 948 pages, 816 are decorated in minute detail in vibrant colours, gold and silver. No other Hebrew manuscript equals the richness and scope of the illumination of this Miscellany.

We have 1 facsimile edition of the manuscript "Rothschild Miscellany": The Rothschild Miscellany facsimile edition, published by Facsimile Editions Ltd., 1989

The Rothschild Miscellany

London: Facsimile Editions Ltd., 1989

  • Commentary (English) by Fishof, I.; Simonsohn, S.; Ta-Shema, I.; Beit-Arié, M.; Foot, M.; Mortara-Ottolenghi, L.; Elizur, B.; Loewe, R.
  • Limited Edition: 550 copies
  • This facsimile is complete (full-size color reproduction of the whole original document).

The Rothschild Miscellany at The Israel Museum, proved to be an even greater challenge, for the publishers' philosophy dictates that a facsimile must be as close to the original as possible. Tremendous efforts were made to acquire the finest materials and craftsmen to impart to each volume not only the presence but also the feel of an original manuscript. In order to reproduce the Rothschild Miscellany in the same uncompromising way, a great deal of research and further technical development was required for the manuscript is lavishly decorated on almost every page. The Falters moved to Italy to supervise every stage of the facsimile's production and by combining craftsmanship and dogged determination with modern technology, remarkable results have been achieved. The original manuscript was hand-copied and illuminated on foetal vellum which is soft and translucent. Its folios were measured for thickness, weight and opacity and a new type of 'paper' virtually indistinguishable from the manuscript's vellum, was specially milled in Italy. The result is a fine, neutral pH vegetable parchment-like paper with the same natural characteristics of skin that makes printing on it very difficult indeed. The edges of the pages of the Miscellany are brown with age and irregular, so, in the facsimile each one has been laboriously cut to exactly the same size and shape as the original and then "aged". The facsimile is presented in a cloth-bound hinged slipcase edged in morocco together with a similar slipcase for the commentary volume. Every set is accompanied by a certificate bearing the seals and signatures of both The Israel Museum and Facsimile Editions. Five eminent scholars contributed to the commentary volume which describes the rich subject matter of the illustrations, the stylistic affinity and differences between the artists and their relation to general Italian illumination of the period, the historical and social background of the manuscript, the codicology, palaeography, religious and liturgical content of the Miscellany, and the binding. The commentary volume is illustrated with full-colour plates. It is produced as a separate volume, the same size as the facsimile, and bound in the finest blind-tooled morocco to complement the facsimile. The two volumes are presented in cloth-covered slip-cases, edged in goatskin.


As the original binding of the manuscript no longer exists, Mirjam Foot, formerly Director of Collections and Preservation at The British Library, London, suggested an exquisite Italian binding of the period, worthy of the manuscript, which has been copied in minute detail. The facsimile is bound in fine-grain morocco goatskin, blind-tooled on the front and back covers with morocco head and tail bands. The binding is secured by four silver clasps on morocco thongs; the thongs and clasps being attached to the binding by minute silver nails.

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